Southern Air
Yellowcard
7-out-of-10
I'd wager it's been about eight years since I've heard a Yellowcard song. "Ocean Avenue" was their breakout single, and album, in 2002, which I sank my 12 year old teeth into like it was a watermelon. It was insanely catchy, and the added twist of a violin player in a pop punk band blew my preteen mind to pieces. Shortly after, they fell off my small radar, released a few albums which I completely missed and then went on hiatus in 2008. 2010 saw reformation and another release, and 18 months later came Southern Air.
On first listen, I was 12 years old again. I can't say their sound has vastly matured in a decade, they've kept the same pop punk vibe with fast rhythms and licks, but there is something different about it. There's an explorative element that breaks up the same old thing, there's nuance and ambiance in a few of these tracks that one could attribute to growth during the hiatus.
Southern Air begins a refrain that sets this album apart from their roots. It's a very subtle letting go of their west-coast beginnings and an embracing of the lead singer's (Ryan Key) new home in the southern states. The melodies are subsequent of southern influence; musical and mainly otherwise.
The first few tracks are fast paced and urgent, echoing the vigor of prior Yellowcard releases. If there's one thing a fan could appreciate it would be Yellowcard's reliable nature. Unlike some bands that try to reinvent themselves every few years, Yellowcard really seems to know who they are and what they're capable of. Unfortunately with that, they fail to push themselves to their limits. However, the tracks are fun, interesting listens and complete the task at hand; to entertain a vast audience of old and new listeners.
I found Southern Air to be an enjoyable nostalgic trip, and now that I'm older I feel I can really appreciate Yellowcard's slick melodies and musical ability rather than just their popularity.
--SEAN CRAIB-PETKAU
Midnight At The Movies
Justin Townes Earle
9-out-of-10
Last week I reviewed Justin Townes Earle's self-released debut EP, Yuma, and it somewhat rekindled the admiration I've had for him. Not that I had suddenly stopped listening to him, but reviewing his material put it in a new light. Midnight At The Movies was Justin's second album release following 2008's The Good Life. It came out to critical acclaim and was called his best work to date.
Midnight captures the emotional transparency of Yuma and the studio effort and rockabilly roots of The Good Life. Songs like "They Killed John Henry", "Black Eyed Suzy" and "Halfway To Jackson" capture that real Earle sound with their hurried acoustic finger plucking and thick southern voice, reminiscent of songs released 60 years prior. Earle makes it all seem so easy, leaving Midnight a very organic feeling LP.
The other instruments on this album are all very non-invasive. An upright bass or a harmonica rounds out the sound on most parts of the album, but the track "Midnight At The Movies" is the most flush tune with a full backing band. The title track is quite different from the rest of the album, polished and full sounding, Earle trades in the plucked chords for softer strums and a mellower vibe. As much as I love the song, it still strikes me as out of place; almost faked for mass appeal.
The songs are placed beautifully, switching between ballads and fast paced and never allowing the album to become dull. Even with multiple successive spins, the LP hardly becomes boring.
Starting strong, staying lively, and ending with heart, Midnight At The Movies is a well rounded ride for many a music lover. I have to agree with the critics and claim this LP to be Justin's best work.
--SEAN CRAIB-PETKAU
